Brian and Maryrose Crook’s principal work in the Renderers has appeared on Siltbreeze, Last Visible Dog, Flying Nun and Drag City, while Crook has axed dunes in half with The Terminals and Flies Inside the Sun, themselves a crucial early constituent of Kranky, and a band who appeared alongside Ashtray Navigations and Sunroof/Skullflower’s Matthew Bower on an 8-way label collaboration that included (K-RAA-K)³ and Ecstatic Peace! They’re joined by a mutant infant improv cycling team called Crèche in a project that’ll probably be called VIVID CLOUD / LUCKY DIN. It’s essentially squelchy piss jazz, muted jerkcore percussive rage and opera prepunk that splays out and layers up the goblet murk and riverine foundations for the Crooks’ ethereal angel trash to soar over all preternaturally and piratically. Chime and clang gemology.
Adam Willetts and NDLSS DMNSN play sonar music by genetically changed short-circuited, ocean-sized schools of supersonic and ectoplasmic WowWee Alive Panda Bear Cub Plush Robotic Toys. NDLSS DMNSN wields clairvoyant guitar powers and percussive elegance unmatched by the reverie traits of most other musical air movie dreamstraiters, while causing harsh as muck wrought iron eclipses to collide with endlessly contorted Jackson-5 loops, ominous hi-profile snuff-rock homicides, slo-mo organic gun shot wounds and punctured Dame Malvina space lungs, spliced Jennifer Hudson bowels, and true post-Xpressway downer ascension. In Ben Spiers’ words, Willetts sounds like ‘Omit covering the Bladerunner end credits music (via 1975 vintage Ash Ra Tempel and Tangerine Dream)’, but he comes right out of the movie Demons style, preying upon your wobbly fears of psych blueberries, see-thru mobster unicorns, crushed 666bpm marble dénouements, Pat Boone and Olympic synchronized swimming.
